Alan Lightman’s novel, Einstein’s Dreams, follows a fictionalized Albert Einstein during the period he was developing his theory of relativity.This literary exploration of time and our relationship to it has in turn inspired a number of artists including Joanne Sydney Lessner and Joshua Rosenblum.Their musical version — also called Einstein’s Dreams — is currently making its off-Broadway debut at 59E59 Theaters, produced by Prospect Theater Company.

A theoretical physicist may seem odd subject matter for song and dance.Indeed the numbers that are the most tuneful and consequently memorable — such as the spirited Relativity Rag — are those that portray universal feelings.The all too human desire to hold onto a special moment or to feel stuck in an unpleasant one are sensations that are easily translated to a musical language.It is when Lessner and Rosenblum move into storytelling mode that the quality of the lyrics suffers and the piece becomes problematic.

To convert the book — which centers on 30 varied dreams — to a manageable structure for performance, this retelling focuses on a relationship Einstein develops with Josette.The tantalizing and intriguing woman only comes to him when he is asleep.Their conversations supply him with fresh insight and inspiration.Alexandra Silber gives soaring voice to this muse, set off from a sea of earth tone clad players by a fiery red outfit designed by Sidney Shannon.Zal Owen counterbalances Silber’s flamboyance with his sensitive portrayal of a genius with no peers who is bored in his job and troubled by his deteriorating marriage.

Even this central relationship isn’t given much spark by Cara Reichel’s clunky direction.The biggest contributing factor to the unwieldiness of the work is the wideness of Isabel Mengyuan Le’s dramatic set.While it is eye catching and brilliantly brought to life by David Bengali’s projections (the production element that makes the most of the theatrical medium and the dreamscape environment), it takes up so much of the stage that actors are sometimes forced to scoot awkwardly between sections.Movement contributed by Dax Valdes is often limited to stunted waving of arms while the actors’ feet remain planted.

Of the supporting cast, Brennan Caldwell is a standout, providing comic relief and a blast of humanity as Einstein’s closest friend Besso.Caldwell even manages to make physics sound conversational.The rest of the company members (Talia Cosentino, Stacia Fernandez, Lisa Helmi Johanson, Michael McCoy, Tess Primack, and Vishal Vaidya) move mechanically from scene to scene.Those who play multiple characters struggle to find meaningful differentiation.Thankfully everyone in the cast has a pleasing voice and articulates clearly and the overall sound is comfortably modulated for the space.

The vast concepts that Einstein’s Dreams sets out to explore feel constrained by this production.Yet those who love musicals as a means of expression will find enough here to keep them engaged for the swift 95 minutes of running time.This limited engagement runs through December 15 at 59E59 Theaters (59 East 59th Street, between Park and Madison). Tickets are $25 – $70 ($49 for 59E59 Members) and can be purchased by calling the 59E59 Box Office at 646-892-7999 or
visiting http://www.59e59.org.

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There is a hunger for stories about women who find their power, and rare to find one that also follows an unexpected path.One such surprising and welcome piece, Power Strip, is currently playing at Lincoln Center Theater’s Claire Tow.Set in a refugee camp on Lesbos, Greece in the Spring of 2016, it follows the story of Syrian refugee Yasmin.Through playwright Sylvia Khoury’s beautifully crafted script, we witness how this young woman came to be in such a harsh environment and learn her plans for the future.So clever is this work that even the title takes on multiple meanings.

Khoury’s storytelling is rich in detail despite the show’s tightly clipped runtime.She doesn’t give her plot a twist so much as perform narrative slight of hand.Everything is in front of you, but revealed so slowly and with subtle distraction that you only see the full picture at the end.Khoury also takes the step of placing tiny lights along the cultural awareness path to lead the way for those without much knowledge about the lives of Middle Eastern women.War forms an essential part of the backdrop, but the politics remains bubbling under the surface.Khoury’s language is blended with Matt Hubbs’ humming soundscape which further communicates commotion, fear, and conflict.It’s a powerful experience made even better by director Tyne Rafaeli’s masterful staging and pacing.

Dina Shihabi is on stage for the entire 90 minutes, her lithe body flowing between taut and fluid as Yasmin’s story unfolds.The skillful actress stuffs emotions into a tiny space with the same efficiency as Yasmin hastily packs her carrier bag with essentials.The shallowness of the venue allows the entire audience to almost see her mind at work as she evaluates her shifting circumstances.Arnulfo Maldonado’s bleak set and Jen Schriever’s muted light work to put further focus on the tiniest of her reactions.

Darius Homayoun and Dina Shihabi in Power Strip. Photo by Jeremy Daniel.

The men around Yasmin each have an influence on the trajectory of her life.So, too, do the three actors who embody them impact what the actress brings forth.The dominance and assuredness of Ali Lopez-Sohaili as her fiancé Peter, the protective sweetness of Darius Homayoun’s fellow refugee Khaled and the vulnerability of Peter Ganim’s widower Abdullah each bring out a different quality in her performance.

Just like a series of sockets, Power Strip provides us with a deep connection to the astonishing things that can keep someone going.This effective drama is sure to linger with you, bringing with it a unique combination of grief and hope.It runs through November 17 at the Claire Tow Theater in Lincoln Center (150 West 65th Street).Curtain time is 7PM, with 2PM matinees on weekends.All seats are an economical $30 and available through Telecharge at https://www.telecharge.com/Off-Broadway/Power-Strip.

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Inspired by true events experienced by literary agent, author and playwright Richard Curtis, Quiet Enjoyment is a lighthearted comedy about a stressful experience: the title transfer of a New York City co-op.As part of a bruising divorce settlement, Peter Chasen is signing over his $5M apartment to his ex-wife Juliana for $1.It’s the first closing conducted by Meredith Cudlip and she wants it to be perfect.With all her preparation, the transaction should flow and take approximately 20 minutes.Instead, a series of events conspire to drag out the proceedings, leading to heated exchanges, underhanded dealing, and a few sexy memories.

The idea for this work percolated in Curtis’s mind for a number of years before being committed to paper.The good news is that you are almost certain to laugh during the nearly 100 minutes of runtime.Curtis has seemingly taken informal lessons from a number of masterful sources including Noel Coward’s witty banter and Groucho Marx’s physical shtick.The drawback to this approach of blending comedic styles is they don’t tickle the same funny bones.At any given point, a third of the audience is having a blast while the remainder sit stone faced.Judging from the lopsided reaction, the most divisive element is Megan Simard’s Karma.While Ms. Simard commits her heart and soul and several other flexible body parts to the role, she can’t bring her lines above the level of hippy chick caricature.The character doesn’t seem to fit the rest of the piece any more than Karma’s wild presence fits the tightly controlled proceedings. Her presence literally in the middle of the conference table pushes the needle from humorous to absurd.

On the other end of the creative spectrum is Samantha Mercado Tudda’s Meredith Cudlip.Ironically nicknamed Merry, she’s an anal-retentive and ambitious associate who makes zany entertainment spring from dry real estate language. More broad but equally skillful is Paula Gates who takes on the roles of Peter’s harried assistant Tammy and Meredith’s overbearing boss, Martha Pusey.Though the actress plays both similarly, the stand-up comedy chops she displays in her first scene elicit a special round of applause when she makes her second entrance.(Someone needs to get this women her Equity Card pronto.)At Friday’s performance, Jamie Lee Kearns was suffering from laryngitis.She might consider vocal lessons to retain that Demi Moore-esquepurr which further enhanced her interpretation of Peter’s competent and sexy ex Juliana.As for Peter himself, Mark A Daly has great timing but doesn’t project the magnetism that would more obviously stir so many loins.Kris Paredes and Mario Claudio round out the cast as Jules’s sister, confident and lawyer, Danaand Peter’s obnoxious lawyer with bladder issues, Abraham Bimsky.(If it isn’t obvious from this paragraph, playwright Curtis has a particular flair with names.)

Director Marcus Gualberto does a fine job with the rapidly moving exchanges, especially given the confined space.He is aided in making the most of the 62 seat house by choreographer Ruth Guimerà.The versatile Mercado Tudda also provided the appropriate costumes.Lighting is employed to highlight areas of the set where physical barriers (doors, partitions etc.) would likely be used for a rendition with a bigger budget.

A shaker full of delicious ingredients that don’t quite blend, Quiet Enjoyment is a pleasant enough diversion for $25.Richard Curtis certainly has an ear for comedy and his dedicated cast makes the most of what’s on the page. This production is registered with the New York Innovative Theatre Awards. It plays through November 3 at the Playroom (151 West 46th Street, between 6th and 7th) on Fridays, Saturdays, and Sundays at 7PM with a special performance on Monday, October 28.Tickets are available at https://QuietEnjoyment.BrownPaperTickets.com and by calling 1-800-838-3006. In person purchases may be made at the theater half hour prior to performance.

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An 8 year old girl has gone missing near a lake in a wooded area.A plumber by trade and self-appointed neighborhood guardian, Phil has collared troubled teen Jamie, and dragged him into a nearby deserted toolshed for questioning.Phil spotted Jamie near where the girl was last seen, but his suspicion of the young man stems more from their previous experience.To gain a clear upper hand, Phil takes the drastic step of tying Jamie to a chair in an effort to extract a confession.Hearing cries for help, erudite professor Ethan barges onto the scene and into the conversation.

Playwright Matt Williams uses this triad to explore how personal endangerment affects action in his new aptly titled work Fear.As events unfold, each one of these people holds onto a strong conviction that he is on the side of what is right, not only in regards to the current potential wrongdoing but in their world view.The three characters aren’t particularly original, but their relationships to one another is sophisticatedly developed.As new background information is revealed, alliances between the three shift, along with the loyalty of the audience.Williams’ experience in television comedy comes through in the heavy dose of explanation in the show’s opening moments.There are also occasional splashes of jokes that come on a little strong, though they each provide a pleasant moment to breathe between psychological stabs. As in life, everyone here is an unreliable narrator, with truth getting lost in perception and self defense.

The show literally starts with a bang as Ethan and Jamie struggle through the doorway letting it slam behind them.There are many other moments that beg us to lean forward.Director Tea Alagić keeps the pressure high by containing her characters in a small dusty and chaotic space designed by Andrew Boyce.D.M. Wood’s harsh lighting adds to the desired mood with Jane Shaw’s sound adding aural punctuation.All three actors are excellent, with Obi Abili’s Ethan particularly drawing us in with his tension-filled whispers.Enrico Colantoni gives Phil appropriate swagger tinged with a touch of menace as he vividly recalls episodes he has witnessed.Though we come to understand that Jamie is socially awkward and learning disabled, the potential for him to develop a fully sympathetic side is lost in Alexander Garfin’s jittery performance.This may be a weakness of his lines rather than his acting ability.

By settling for easily recognizable characters instead of digging deeper, Fear falls short of making a lasting impressionBut it does illustrate in shorthand how anyone is capable of becoming what they most loath in an attempt to save what they most love.Though the opportunity for lasting impact is blunted, these actors bring their A Game and keep us engaged throughout the play.This world premiere has a limited run through December 8 at the Lucille Lortel Theatre (121 Christopher Street.)Runtime is 80 minutes without intermission.Tickets are $65- $89 and can be purchased by visiting FearthePlay.com or by calling (866) 811-4111.

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Composed of two one acts and a monologue, Strangers in the Night is a diverting if uneven entertainment.Produced by Hunger and Thirst Theatre and doubling as a fundraiser for the Pay It Forward Foundation, each piece explores the consequences of connecting with strangers.

In Patricia Lynn’s Screwed — the most gripping section — the playwright performs the lead role of Molly, evoking sympathy as a young governess under arrest for the murder of one of her charges.A sincere Patrick T. Horn is Peter, a local policeman whose sister, the previous governess, is presumed to have committed suicide at the same location.Brandon J. Vukovic rounds out the cast as Molly’s suspicious boss, Mr. Douglas.Inspired by Henry James’s The Turn of the Screw, the script cleverly lays out opposing perspectives of events, sprinkling in elements of #MeToo and the ageless desire to be heard.Lynn’s experience as a feminist Gothic writer shines through.The assured hand of director Caitlin Davies builds tension and curiosity even as Molly barely moves from her chair. The result challenges the audience to examine what is fantastical and what is believable.

Working as a counterbalance to this traditionally constructed story is the nonlinear Bottling Dreams of The Tearful Don’t Knower.At opening, there is a man gathering tears from a pool in the woods.He is intending to bring them to his “Other Half” who has cried herself dry and is consequently at risk of losing her sight.Instead, he entices a flamboyant stranger into a sexual relationship which waylays him long enough to cause Other Half to panic and brings on an attack of self-loathing.Created by Emily Kitchens and directed by Paul Kite, the work mixes staccato dialogue, exaggerated pauses, and simulated homosexual sex (intriguingly choreographed by Adin Walker) into a statement about need and identity.It is punctuated with outbursts emanating from an art installation which displays an array of brightly colored cultural images on four screens. The three actors — Philip Estrera, Dillon Heape and Natalie Hegg — do a masterful job of delivering heightened material in natural style, finding human motivation in odd poetic phrases.The video display is at once binary with its ones and zeros and non-binary with its gender neutral voice.While the storytelling is creative, the scenes are often disjointed and the viewpoint ultimately hazy.

Attempting to tie these two disparate pieces together is a monologue.Speaking in mannered tones and gesturing like a ring master, Frank (Jordan Kaplan) introduces each one act before sharing a personal story of his own.This final chapter, written by Mr. Estrera, is thinner than the others, but makes for a sweet end note.Lighting designer Wesley Cornwell, sound designer Randall Benichak, and video designer Ben Charles do their part to give this event cohesion by setting an uneasy mood throughout.

Whether you prefer your psychological entanglements eerily concrete or avant guard, Strangers in the Night has something to offer.It plays through October 26 at The West End Theatre.Runtime is about 90 minutes without intermission.General admission tickets are $15 in advance, $20 at the door.To purchase tickets and for more information, visit www.hungerandthirsttheatre.com.Note: The venue is located on the second floor of the Church of St Paul and St Andrew on West 86th Street between Broadway and West End Ave. The space has a slight echo which may be challenging for the hearing impaired, but the seats are comfortable and the rake is terrific.

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With its simple narrative, The Glass Menagerie has always lent itself to reinterpretation.For those unfamiliar with the Tennessee William’s classic, the play centers on the Wingfield family.Many years before the opening scene, Mr. Winfield abandoned his wife Amanda and their two children Laura and Tom, now in their 20s.A former Southern belle who proclaims to have had a fleet of suiters, the socially skillful Amanda is overly focused on her children and the molding of their lives.Having suffered childhood illness, Laura is so painfully shy she has no friends or career prospects.Her one joy is her collection of glass animals.Tom has had to set aside his dream of being a writer and works at a shoe warehouse in order to pay rent on their shabby St. Louis apartment.Amanda is determined to find a suitable husband for Laura in order to provide for their future and perhaps free Tom for a better life.

Told from Tom’s viewpoint and relayed as his recollection of events, The Glass Menagerie is referred to as a memory play.Tom himself cautions the audience that what they see may not be precisely what happened. Plot points are therefore more representational than factual. The much anticipated visit from the Gentlemen Caller who may sweep Laura away can stand in for any elusive wish.Laura’s much discussed disability is represented as a psychological wound as often as it is depicted with a physical leg brace.

In the current iteration staged by Austin Pendleton and Peter Bloch, the recurring theme of illusion takes center stage.It is emphasized in Tom’s love of movies, Amanda’s revisionist past, and Laura’s hazy self-image.The piece opens with Tom performing slight of hand.Many props remain illusionary, with the entire cast miming everyday actions such as drinking coffee and smoking a cigarette in an intentionally unrealistic manner.The essential Gentleman Caller’s visit seemingly haunts the lives of the family, hanging over the room as fully as the father’s portrait which stares down from the back wall.

Alexandra Rose and Ginger Grace in Glass Menagerie at The Wild Project

While it is an intriguing approach, the production’s gauziness makes it difficult to latch on to the characters.The relationships feel flattened by their hallucinatory essence.As is described in the script, Gentleman Caller Jim is the most three dimensional, brought to appealing life by Spencer Scott.But the other performers are left nearly bloodless.Pendleton/Bloch collaborator Matt de Rogatis’s Tom shows brief flashes of frustration.When he is downstage speaking directly to us, Amanda and Laura are often upstage as if in his thought bubble. But he too is sometimes crammed upstage and many of his character-defining moments are therefore obscured. Frequently placed behind a scrim literally separated from everyone and cloaked in shadows, this Laura (a single-noted Alexandra Rose) floats like a phantom through her scenes.Most significantly Amanda (a fiery Ginger Grace ) is strongest when she is alone on stage, leveraging what’s left of her Southern charm to sell magazine subscriptions.

The deliberate ghostlike features work far better as an integral part of the production design.Steven Wolf’s lights are initially neatly focused on Laura’s collection of glass animals, slowly broadening to reveal the tattered set. Gothic furniture designed by Jessie Bonaventure is missing limbs and top off with glass elements lending them an air of incompleteness. The father who abandoned his wife and children eerily looms over their plight in a large photographic projection.Sean Hagerty original haunting music from unseen dance halls along with discomforting sounds effects orchestrated by Allison Hohman emphasize the nature of memory and complete the spectral landscape.

A curiosity best suited to fans of the play, The Glass Menagerie is running at The Wild Project (195 East 3rd Street, between Avenues A & B) though October 20.Runtime is 1 hour and 45 minutes without an intermission. Tickets are $35 and are available through Brown Paper Tickets at 1-800-838-3006 or by visiting www.theglassmenagerieplay.com.

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Medievalist and Live Action Role Player Zach is on the writing team for a period television series with a rabid fanbase.As a successful ghostwriter of bodice rippers, Laura knows every cliched metaphor for an erection.The two meet when Zach takes his ill-timed first foray into online dating in Liba Vaynberg’s Round Table, having its Off Broadway premiere at 59E59.The audience for these oddball lovebirds skews particularly young and it’s easy to see why.Despite the characters’ (pre)occupation rooted in the past, they are engaged in a very modern romance. Costume designer Johanna Pan does a particularly clever job of firmly pulling us into both worlds, with one half of the wardrobe lovingly mocking the other.

Craig Wesley Divino as Zach and Sharina Martin as Morgan in ROUND TABLE at 59E59 Theaters. Photo by Carol Rosegg

Ms. Vaynberg’s script is largely humorous and unexpectedly sophisticated.Threads of sad misfortune are delicately woven into the comedic tapestry.The carefully plotted landscapes of Laura’s novels and Zach’s LARP explorations are juxtaposed with the very real messiness of detached parents, sleepless nights, and creeping illness.There are some puzzling references to Greek mythology (is Zeus the gateway drug to King Arthur?), but for the most part the connective tissue is strong.This is a tale of would-be knights and damsels both in distress and in control.Vulnerabilities exposed in life can be gently cloaked and “cloaked” in the alternate universe, making them easier to confront. While these characters may need to escape to a place in which every move requires consent, they must ultimately accept what the universe hands them. These two realities areintermingled, with monologues serving to separate the beats, ending in a lifelike precarious balance of the two.The seesaw of moods is echoed in the lighting designed by Cha See, which switches from hot spots to muted shadows cast by branches suspended from the ceiling.

Perhaps too attached to her precious words, Vaynberg the actress doesn’t do justice to her own work.Laura’s lines indicate that she is self-aware, if imperfect.Instead, the actress’s delivery is stilted, as if read from a gigantic invisible paper floating before her.Fortunately, the rest of her cast is terrific.If there was a special Tony for staging embarrassment, director Geordie Broadwater would be the runaway winner.He brings out a full range of difficult emotions in his tiny team while also using natural movements to store out-of-time props.Craig Wesley Divino’s performance as Zach is infused with genuine tenderness, bringing out both his mastery of our hero’s work and dis-ease in the rest of his life.Karl Gregory rescues Zach’s gay brother Kay from remaining a one note flamboyant sidekick, providing emotional layering to pivotal scenes.Matthew Bovee’s Modred isn’t given as much to work with, though he does give distinction to his warrior and shyer selves.And Sharina Martin’s Morgan is so electrically charge, you can well imagine her having hoards of adoring followers.Even as her anxiety-ridden alter ego, she bores into your soul when she stares unflinchingly into the eyes of audience members.Good thing since Izmir Ickbal’s set bifurcated with effective scrim puts the players mere inches from their viewers.

In all their iterations, the characters of Round Table are thoroughly likable.And at $20/$25 this piece makes for a full and engaging theatrical experience.Produced by Fault Line Theatre and Anna & Kitty, Inc. it runs through October 20 in Theater C at 59E59 Theaters ((59 East 59th Street, between Park & Madison).Running time is approximately 95 minutes, with no intermission.Tickets are available by calling the 59E59 Box Office at 646-892-7999 or by visiting www.59e59.org.